The Grado PS1000 is considered one of the best headphones available in the headphone world and has been compared to the likes of the Sennheiser HD800, Beyerdynamic T1, the Audez’e LCD-3, and the HiFiMan HE-6. At $1600, the Grado PS1000 is one of the most expensive flagships currently available, and I really don’t see a need for a formal or well thought out introduction, as I’m sure most of you just want to know what’s the stuff with the PS1000’s. So without any further ado, we shall begin with the Grado PS1000 review.
 
It’s been a long journey for me in the audio industry, and even though it’s only been two years, I’ve been lucky enough to listen to almost every flagship extensively over the last year, and in doing so, have become very familiar with each sound signature. I’d had yet to hear the Grado PS1000, so when the opportunity came to audition the Grado PS1000 extensively next to the HD800 and several other flagships, I was very excited. After two months of rigorous testing (and over fifty hours of burn in), I was finally able to see how the PS1000’s performed, and it seems as though the PS1000’s really do deserve a top spot against the other flagships in the lineup. I will say however, that it starts to become up to pure preference, and not sound quality, when choosing among the various headphones available when flagships are concerned, and like the other flagships, the Grado PS1000 is extremely unique in its presentation.
 
Equipment & Testing Setup Precautions
Before I began initial testing, I had to make sure that I was using the best equipment available for the job, and while I couldn’t quite afford a ten thousand dollar amp and source, I could afford some hardware and software that’s considered high end by many. First, my choice of music was picked from a wide selection. Almost every genre, but with only the highest quality recordings, like Metallica’s Metallica (or the Black Album, as it’s commonly known) for classic metal and Eric Clapton’s Unplugged for rock. Among others were some electronica music and scores, coming from both Hans Zimmer and John Williams, all running through Fidelia and ripped into ALAC and FLAC. Testing gear included some of my own gear, like the Burson Audio HA-160DS, and one of my most detailed DAC’s, the Rein Audio X-DAC. And just for the budget friendly, I threw in a Schiit Valhalla to see how the PS1000’s would perform on budget level gear. Oh, and did I mention that I was lucky enough to have a high end source and amp that I was demo-ing as well? The HeadRoom Triple Stack, which included the BUDA, UDAC, and PSU, and all seemed to synergies perfectly with the PS1000.
 
Now, after all that rambling about setup equipment, flagships, and other nonsense, I desperately need to get to the actual sonics. The PS1000 comes off as being, in a nutshell, a very bright and edgy headphone at first listen, and needs a bit of burn in for the upper treble to be tamed, or otherwise the entire spectrum will sound like the infamous and rather nasty HD800 treble peak. After a lot of burn in though (I recommend over fifty plus, but didn’t hear much more difference between a twenty-four hour burn in period), everything warms up a tad, and while the whole presentation of the PS1000 is still a tad bit edgy and forward sounding, you’re able to examine and dissect the spectrum a little more without any issue of earaches.
 
Sonic Musings
As I began initial testing of the PS1000, I noticed something that struck me as being a very odd characteristic for such a detail enveloped and bright sounding headphone, and that was the bass quality. Not necessarily the bass quantity (that’s more LCD-2 & Denon D7000 like), but the bass quality was simply unparalleled. The bottom of the spectrum doesn’t have anywhere near the amount of power or coloration of something like the LCD-2, but it has such an amazing transient response. Notes start up impressively quick and decay just as swiftly, and while the PS1000 is missing the huge amount of slam of the LCD-2, I still feel as if the PS1000 has a much higher detail level and is much more articulate. While I still prefer the LCD-2 when it comes to DnB and other electronica songs, the PS1000 outclasses the LCD-2 in bass quality, but not bass quantity. Its pick your poison. The Sennhesier HD800 can’t be forgotten either, as it has a decent bass response as well. The HD800 has good, articulate bass, but even it falls behind the PS1000, and sounds quite thin and lifeless (compared to the PS1000’s rather full bass response, and that’ll surely be subject to opinion). Also, just as a side note, the HD800 doesn’t even compare to the LCD-2 in sheer power, whereas the PS1000 might be able to with proper amping, especially on the Triple Stack. The HD800 is faster and more detailed, but nowhere near as powerful, and without any coloration whatsoever. So the HD800, at least in my mind, isn’t even a contender when it comes to balancing out bass characteristics.
 
The midrange part of the spectrum has spiked much controversy among a lot of people when it comes to the multiple flagships, and this is where I think the three headphones that I’ve been testing couldn’t be any more different from apples to peppers (sweet vs. spicy). The Grado PS1000 generally comes off as being overly bright from the midrange to the lower treble, and then some. However, if you listen to a wide range of genres, like Sting and other varied slow rock music, then you’ll start to see the true nature of the PS1000’s, especially after burn in. The midrange is generally slightly warm, very forward and aggressive, and features a very detailed vocality presentation with a lot of coherency. The vocals are very forward, and aren’t as edgy as the HD800, but with a tad bit of richness being apparent in some male and female vocal artists. The PS1000 sits in between the cold, laid back, and thin sounding midrange of the HD800 and the LCD-2’s liquid, warm, and slightly laid back midrange. Not as coherent and enjoyable as the LCD-2, but not as layered and edgy as the HD800, which is something I enjoy greatly. A slightly warm midrange, with good instrumental separation, and a to die for vocality presentation. I’d only love it more if the PS1000’s midrange was a tad bit more laid back, as the aggressive nature of the midrange tends to suck out the enjoyable experience of the rest of the midrange.
 
Up top, the treble presence is where the PS1000’s differ more from the LCD-2, and less from the HD800. While I still think that the HD800 has the best extended and detail retrieval capabilities of any headphone that I’ve tested, it still has that slight peak that can be very hurtful on the ears, and neither the LCD-2 or the PS1000 have that after burn in. Like the midrange presence, the PS1000 sits right in between (except for forwardness) the HD800 and LCD-2 in terms of treble quantity and quality. The HD800 and LCD-2 are both rather passive up top (the LCD-2 being shadowed, whereas the HD800 is totally opposite that), while the PS1000, like all other Grado models, is very forward and aggressive sounding, with a lot of sparkle. The PS1000’s treble isn’t as cold as the HD800, and lacks the earsplitting peak on the HD800. Yes, the PS1000 is less extended than the HD800, but has a slightly more warm and smooth presence (but don’t make think that the PS1000 has a warm treble, because that’s not the case at all). On an ending note, the LCD-2 is like the PS1000’s polar opposite. The LCD-2 is much more smooth, much less extended, and much more laid back, with a slower transient response, almost the exact opposite of the PS1000.
 
Finally, we’ve come to the last and probably longest part of this review when it comes to sonics, the soundstage and imaging abilities of the PS1000 versus the LCD-2 and HD800. I’ll try to make this as short as possible and easy to understand. While the HD800 has the biggest and most wide soundstage of the three, it lacks naturalness and a realistic image. The HD800 separates instruments way too far apart, and the amount of air and layering space is unrealistic for me (a lot of people will disagree with me on that). The PS1000 has a much different soundstage. Since the forward nature of the PS1000 sucks out the space and the imaging capabilities, you might be blinded by what the PS1000 can achieve. The PS1000 has an incredible amount of depth that’s both realistic and true to life, and sounds perfect on the right recordings. While width is definitely subpar when compared to the HD800, the PS1000 places instruments more accurately around the entire soundstage than that of the HD800, whereas the HD800 has too much air surrounding everything. The LCD-2 falls behind both headphones when it comes to depth, width, and instrumental separation, at least in my plane of view.
 
The Design & Materials
While I wasn’t the biggest fan of the PS1000’s build quality and choice materials when I began initial testing, I feel as if though they’ve made a bigger impression on me throughout the majority of the testing period. The PS1000’s feature ear cups that are unlike that of the aluminum in the HD800 and the wood in the LCD-2. Instead, they feature a very nice, glossy (which used to be matte and would have been my preference) metal alloy that’s very heavy (500 grams) and vey prone to fingerprints and minuscule scratches. The PS1000’s really do need some kind of oleo phobic coating to help with fingerprints and scratches, as they can become quite annoying. The headband is made out of a nice leather material, and while it’s not the most padded headband that I have used, it fits nicely on the head and isn’t very finicky at all, although I know some will prefer a little more cushioning.
 
The actual ear cups themselves present a bit of a problem for me. While the bowls are comfortable for a short period of time and play a big part in the soundstage, I feel as if though they can feel a bit itchy after elongated use, and really wish that Grado could use a new material for their bowls, like some kind of memory foam. Additionally, due to the hefty weight of the PS1000’s, the ear cups tend to slide down on one’s ears after a while, and can slide around a lot if you aren’t staying stock still while listening to music. Being as it’s one of the bigger issues that people to report, I hope Grado looks into this in the future, as it would really help. On an ending note, the cable is very thick and sturdy and features OCC copper coupled with a quarter inch jack, the standard size for most high end headphones.
 
Final Thoughts
The Grado PS1000 is truly a world class headphone in it own right, and while it may not be the most popular headphone on the market right now when it comes tot he high end dynamics, orthodynamics, and electrostatics, I still feel as if though the PS1000 has a very unique sonic character that sets it apart from the other bad boys of the group. It has a lot of characteristics of other headphones like the LCD-2 and the HD800, but with its own attributes as well (soundstage depth and bass quality). If Grado can improve the materials and comfort level of the PS1000, they may have themselves a winner with the PS1000. On an ending note, I know a lot of people who have modded their Grado’s, and they say it’s very easy to change the sonic signature, so if you ever get bored, why not try a little DIY work, it may pay off.

 
Here we go again with yet another HiSound Audio review, instead this time we’re taking a look at their new RoCoo P digital audio player. Without getting into specifics and going on and on with a fancy and engaging intro, I’d rather just get straight down to the basics. The RoCoo P is one of the best sounding digital audio players I’ve heard to date, and it has an amazing price point to match the performance. So, without any further ado, let’s take a deeper look at the all new RoCoo P.
 
The Design
Before I even begin to discuss the sound in the RoCoo P, I feel as if though there have been a few design changes that will excite a lot of people looking for a DAP or even an upgrade from the Studio-V. The Studio-V had a very thick chassis, and was very uncomfortable to hold in the hands due to the massive weight and the rather sharp bezel. I think HiSound noticed that this was very unsatisfactory to most people (including myself) and decided to go with an even simpler design. Now, the RoCoo P is half the thickness of the Studio-V, about a third of the weight, and feels a lot more robust in the hand. The same high quality aluminum chassis, and a new screen that seems to be more smooth than what the Studio-V ever was. 
 
The RoCoo P has the same basic controls as the Studio-V, with a few minute changes. Both the USB port and the micro SD card slot are exactly the same, so nothing new there. As we move up however, there are different buttons. While they are metal, they’re not the same color and feel as the Studio-V. The RoCoo P’s buttons are more circular, flatter, have more of a silver tone, and are a lot smoother when navigating. Lastly, HiSound has removed the line in connection on the RoCoo P and uses only a regular headphone input and a reset button, and both are not drilled like the Studio-V. A slight downside, but still almost as good as the Studio-V when quality is concerned, and the RoCoo P triumphs the Studio-V when it comes to versatility and aesthetics.
 
Sound Analysis
Now that we have all the basics down, it’s time to finally talk about the sound that this little player is capable of outputting. Before we get to that though, let’s discuss what I didn’t like about the Studio-V and what I thought should have been improved on. In a nutshell, the Studio-V had great vocality, a slightly uptempo top end, and a fantastic transient response, but the $450 price point did not match the sonics performance, which was about half of what it was actually worth. The RoCoo P doesn’t even come close to that statement. It absolutely dominates the Studio-V when sonic performance is concerned, and it’s less than half the price!
 
The RoCoo P’s sonic signature is very neutral, but has tremendous extension on both ends of the sound spectrum. It reaches far down low, and has an even faster transient response than that of the Studio-V. Bass wise, it has a good amount of authority, decent punch, and a slight laid back feel. Not overpowering, but just what I like. Also, I’ve found that while the attack of the RoCoo P is very fast, notes tend to take slightly longer to decay, which adds a tiny bit of coloration to the midrange, but very little. Still very speedy down low, but not equal speeds in attack and decay times.
 
The midrange of the RoCoo P is absolutely to die for. Slightly sweet, but very clear and resolved. It’s neither lush not harsh, but sits right in between both of these terms. Vocality, just like on the Studio-V, is top notch, and presents itself in a very forward manner. Never edgy, but very liquid like, with awesome coherency to the rest of the instruments. I find the midrange to stick out a little more than rest of the spectrum, not as laid back as the bass, but more forward, and a little bit brighter than the treble. That’s not to say that the treble is underdeveloped, because it isn’t at all.
 
Actually, that’s one of my favorite attributes of the RoCoo P. Up top, the treble is very smooth. There’s almost no sibilance to be found, and while it does seem to take on a rather smooth feel up top, when a track calls for a cymbal crash or zing, the RoCoo P does a great job of replicating it, and can become quite sparkly. Not the annoying, harsh treble, but the sweet, sparkly, and well extended treble. Also, the soundstage on the RoCoo P is very good considering its price point. Depth extension (this is what I was talking about when I said awesome vocality) is absolutely fantastic, and is very noticeable on headphones like the HD650 and the HD800. Width is exceedingly well handed as well, and stretches out far and wide. Not unrealistically wide, like the Q701, but just enough. Imaging and layering are excellent as well. I feel as if though everything is appropriately placed on stage, and each instrument has enough space to play out nicely. 
 
Driving Authority
The RoCoo P, despite its small size, actually has some pretty good authority behind it when it comes to driving high impedance and current guzzling headphones. Headphones like the Sennhesier HD650 and the AKG Q701. The RoCoo P drives both of these very well, and while it doesn’t equal the sound  and driving surge of $500+ desktop amps and DAC’s, it can drive even the most demanding headphones (except orthodynamics like the HE-6) very well, and has good sound quality to boast.
 
Final Thoughts
While I’ve had bad experiences in the past with HiSound, I’m feeling a new and brighter horizon coming up. HiSound has taken their great design philosophy, and combined it with absolutely fantastic sound, something you don’t see very often. As long as they keep up what they are doing, I can see a very bright future ahead, as well as a plethora of new products. The RoCoo P is earning a new place on my rack, and will fit perfectly into my lifestyle.

 
It’s only every once in a while you come across a product that serves a simple need but does it exceedingly well. The HRT Music Streamer II+ is that product. It manages to retain one of the smallest (yet capable) footprints for a USB DAC on the market and is fully capable of operating at 24/96. Not only that, but the HRT Music Streamer II+ has some of the most lively and musical sonics that I have yet to hear at this price point. So, without any further ado, let’s dive deeper and see what this DAC is all about.
 
The Design
I’m going to try and not point this out as much as I possibly can, but the HRT Music Streamer II+ has a design scheme that’s perfect for a desktop USB DAC. While a lot of people seem to prefer big, hunky, and clunky desktop DAC’s like I do, there’s also a vast majority that want a DAC that’s small, out of the way, and does a great job at what it’s supposed to do, and the Music Streamer II+ fills that need perfectly. It’s only about as long as a regular human hand, and the girth is just over an inch, so it’s quite a small DAC. The oval design sits neatly on any desk or table, and despite being quite bland when it comes to the actual profile, it certainly looks better than a lot of overdone DAC’s that are available.
 
Since the HRT Music Streamer II+ is strictly a USB DAC, you aren’t going to find a lot of inputs and outputs like the DACMagic has. The front features a single USB in port, coupled with 6 LED’s portraying the sampling rate you currently have engaged (16/44.1 all the way up to 24/96). On the back, a set of RCA inputs for hooking up to a desktop headphone amplifier or a pair of speaker amplifiers. So, this may not seem like a very exciting product when it comes to accessibility, but that’s not what the Music Streamer II+ was made for, and the sound makes up for the lack of operations. 
 

 
The Sound
The Music Streamer II+ is one of the most impressive and musical amps I’ve ever heard when it comes to pure sonics. While I still think that the little brother to the Music Streamer II+, the II edition, is a better value than the II+, it still can’t compete with the sound quality. After testing the Music Streamer II+ with a number of different amps and DAC’s (Schiit Audio Valhalla & Burson Audio HA-160DS to name two) I’m fully confident that it may be one of the best DAC’s under $400.
 
Sonically, the Music Streamer II+ comes off on a very neutral vibe, with slight attenuation into the higher octaves and a rather large soundstage experience. However, that’s just in a nutshell, as the Music Streamer II+ deserves so much more than a quick summary. Up top, the treble is definitely prominent, but not overly bright or harsh. It’s slightly lively, but still manages to retain enough smoothness without any peaks or edge. There is a slight bit of grain (across the whole spectrum) up top, but the treble still seems to be pretty crystal clear as an overall. Take the Sennhesier HD650 and pair it with almost any amp and this specific DAC. Remember that horrible treble veil? Yep, it’s gone and completely nonexistent. 
 
The midrange is generally smooth, but has a slight pronunciation when it comes to vocality and acoustics. You'd think that the HD650’s vocals would still feature that lush, rich vocality and midrange, but that’s not entirely the case. You see, once you insert the Music Streamer II+ into the occasion, the HD650 opens up, and the midrange becomes more lively, with more resolution and a lot more forward vocals. Still lush and smooth, but slightly better clarity and definitely more prominent. 
 

 
Down low, the Music Streamer II+ has a slightly different signature than the rest of the spectrum. While it still has that lively and open feeling universally, the bass down low takes on a whole new level of refinement. The HD650 has some of the most powerful bass I’ve heard when amped properly, but sometimes can come off as grainy, muddy, and very slow. Yet again, the Music Streamer II+ fixes that issue. Not only is the bass speed increased dramatically, but the dynamic punch is taken up a notch, and the coloration (this may be both a good and bad characteristic) is spread more widely throughout the spectrum, making for a more enjoyable experience.
 
On a final note, I’d like to discuss a little bit about the soundstage capabilities of the Music Streamer II+, as it seems to be just as deserving of an overview as anything else. On the Sennhesier HD650, people seem to complain a lot about the HD650’s small and slightly closed soundstage, and frankly, I have to agree. Unless you have a proper setup, the HD650’s sound lifeless, very closed in, and rather boring. The Music Streamer II+ adds yet another layer to the already awesome cake when it comes to soundstage. Width, depth, and layering are all improved, and everything seems to take on a more 3D type effect. The depth on the Music Streamer II+ is absolutely incredible, with vocals and acoustics being quite life like. Not as good as something like the LCD-2, but very good nonetheless.
 
Final Thoughts
As you can obviously tell, I really am enjoying the features of the Music Streamer II+ and it’s sonic capabilities. What it boils down to, however, is the price to performance ratio, and this is where I think the Music Streamer falls short to it’s younger brother. The Music Streamer II has a lot of what the plus version offers, just less resolved with a slightly smaller soundstage, but that’ll be for a later date. Honestly, the Music Streamer II+ is a fantastic DAC, and performs pretty well for the price point. If you are looking for a lively and engaging DAC, then the HRT Music Streamer II+ is the way to go.

 
Schiit Audio, now that’s quite a unique name isn’t it? And yes, you read it right, you say it just like that naughty word that you were never allowed to say growing up as a kid. All sarcasm aside, I have recently been questioning why people spend $500+ dollars on headphone amplifiers when they can get just as good performance out of something that is half the cost. Yep, the Schiit Valhalla is a $349 headphone amplifier, but it sounds nearly twice that price. 
 
Schiit Audio really is something. Yes, I know their name is what people will be talking about the most, and who wouldn’t? It’s one of the most weird (yet quite genius) company names I have heard in a long time. How Schiit Audio become so popular is absolutely anybody’s guess, because whoever is behind marketing is one bright fella. Their amps however, are another story all together. Yes, their name seems to coexist perfectly with what some of these amps are all about, because trust me, the stuff that Schiit has been releasing, is some really, really nice Schiit. 
 
First things first, what exactly is the Valhalla? Well, it’s a triode OTL tube headphone amplifier, and the name comes from Norse mythology. Why? I don’t know, ask Schiit Audio, because all of their headphone amps seemed to be in relation to the Greek mythology one way or the other. Now, instead of talking about the technical specifications, the build, or anything of the sort, let’s talk about pure sonics, all right? I know everyone is dying to hear just how good the $349 Valhalla really sounds. 
 
Sonic Impressions
The Valhalla is quite a unique headphone amp, that’s for sure. It doesn’t follow the rules that tubes have gone by, it’s missing that lushness and warmth that a lot of tube amps are known for. However, hook up the Valhalla with a warm headphone, and your almost sure to get good results. In a nutshell, the Schiit Valhalla is a detailed headphone amp with a touch of lushness in the midrange and an extra bump or two in the lower sections. So, now that we have the summary down, let’s take a deeper dive and see what the Schiit Valhalla is really capable of. 
 
As I said earlier, you should really pair this with a dark headphone, something like the Sennhesier HD650, which in my opinion, is a very good pairing. The treble region of the Valhalla is something that has grown on me since the day I picked this bad boy up. It’s not bright, but it isn’t smooth either. It has better extension and adds a lot more sparkle to the top end on my HD650’s. The midrange boasts an impressive amount of clarity. It has a touch of lushness, but is far from being warm and seems to bring the vocals of the laid back acoustics on my HD650.
 
The low end of the Valhalla seems to be a bit weightier, but isn’t exactly a significant improvement. The HD650 already has a pretty rock solid bass response, and while the extra weight and punch seem to give it a little more surge, the Valhalla isn’t the most bass heavy amp. The soundstage on the Valhalla is good, but it can’t compete with high end tube amps. I’m noticing more depth and width out of the HD650’s, but it’s not a significant amount. To my ears, the Valhalla doesn’t exactly sound like a traditional tube amp, the clarity and the very non super lush like mids make for a more solid state sound than the typical tube sound.
 
The Design
Every one of Schiit’s amps are made in America. Impressive, right? Taking into consideration that this amp only sells for $349 and features some of the highest quality components I have ever tested, it’s pretty awesome that Schiit was able to make such a fantastic product made in the USA and at such a low cost. The Valhalla has a nice brushed aluminum chassis all around the perimeter. The sides and back are also made up of a perforated metal coating (this thing gets exceptionally hot, so it’s nice that Schiit let in some breathing room) and features a power slot, an on switch, and two RCA slots. 
 
The front portion of the Valhalla features a volume knob, a 1/4 inch opening, and an embossed Valhalla lettering, so nothing new there. On the top Schiit’s logo can be seen as well as a pair of 6N1P triode input tubes and 6N6P triode output tubes. Instead of me ranting of for the next 2-3 paragraphs, let me sum up everything about the design in one simple and easy to understand sentence. The Valhalla is one of the sleekest and sexiest tube amps that I have ever set eyes on.
 
Final Thoughts
I’ve been extremely impressed with the Schiit Valhalla. The sonics it pumps out are very good considering the price you pay at just under $400. Sure, it won’t outperform amps in the $800 range, but the Valhalla is a very good bang for the buck product. I think I may have finally found a good enough amp for the HD650 without having too spend thousands of dollars on a WA2 or WA5LE.

IEM’s are known to have two driver types, balanced armature, and dynamic drivers. Recently, IEM’s like the Grado GR10 and the Ortofon series of earphones changed the IEM industry with moving armature drivers, which copy the movement of a regular dynamic driver. But, what if someone were to make a new IEM, one so fully loaded that it includes dual dynamic drivers to deliver a whole new type of signature? We’ll, that’s what I’ll be discussing about today with the HP-TWF21R from Radius in Japan, the older brother of the TWF11.
 
The Design
The design of the Radius HP-TWF21R is completely weird for an IEM, and that’s putting it bluntly. The half in ear, half out of ear design is very unique indeed, not to mention the housings that accompany the HP-TWF21R. Unlike full in ear earphones, the HP-TWF21R features an earbud shaped design that fits around the inner edges of your ear, but feature a nozzle for a hybrid in the ear experience, albeit a lot lacking in isolation. The housings, which are made completely of plastic, are round, straight, and every other shape you could possibly imagine. While I am not a huge fan of the gold trim that leads into the housings, it does give the HP-TWF21R a rather classy look. The cable is made of sheath and features an almost tangle proof design, but lacks proper strain relief. 
 
Comfort, Isolation, & Fit
As if I haven’t said it enough times already, the design of the IEM is very peculiar and almost everybody will be quite suspicious of the comfort, isolation, and fit that the HP-TWF21R brings to the table. Isolation wise, it’s mediocre. While some ambiance fades away, almost 80% of everything outside of your head can be heard, and while double flange tips do increase the isolation noise, I really can’t recommend these in noisy environments like the bus or outside. When it comes to comfort however, depending on your ear size, the HP-TWF21R does not disappoint. Unlike regular IEM’s that can cause ear fatigue after a little while, the design of the half in ear design let’s the housing melt away within a matter of minutes. There are three different sets of ear tips, and while most people will enjoy the design of the HP-TWF21R, people with smaller ears maybe find that the housing can become quite cumbersome.
 
Sonic Impressions
The Radius HP-TWF21R reminds me so much of the Sennhesier HD650, which is ultimately becoming my all time favorite headphone. Think of it this way, take the HD650, shrink the drivers to the size of an IEM, and keep the same smooth sonic signature with little tweaks here and there. Low end energy is all there; great amounts of rumble, fantastic extension, and plenty of impact. Couple that with almost perfect attack and decay times and you are left with what is ultimately a carbon copy of the HD650’s low end signature. Now, let’s say we climb a little higher to the midrange, then that’s where things start to differ. Unlike the HD650, the HP-TWF21R has a slightly thicker midrange with the same laid back response. Vocals are slightly less forward and lose a tad bit of clarity while adding a bit of warmth-ness to the overall presentation.
 
The upper treble is yet another example of where the HD650 and the Radius HP-TWF21R differ ever so slightly. The HD650 has better extension and resolution up top with more resolved and laid back harmonics (quite a weird combo), while the HP-TWF21R has warmer, more full bodied notes. Now, I know the big question that everyone has been asking is how is the imaging and the soundstage of the HP-TWF21R? In all honesty, the HP-TWF21R has a very big and dynamic soundstage, and while imaging isn’t all that great, there is a good level of width, depth, and heavy tendency to float towards the center stage and outward. 
 
Final Thoughts
The main reason I am not comparing this to an IEM is because of the fact that there are not a lot of IEM’s that share the same unique sound signature that the HP-TWF21R takes on. It’s more of a miniature headphone listening experience with the simpleness and sleekness of an earphone. I really love the HP-TWF21R, because I don’t have to pull out my HD650’s every time, start up my amp, and wait for my tubes to warm up to enjoy a full bodied dynamic sound session, as the HP-TWF21R can fill that need very nicely. While I do think that the $250 price tag is a tad bit too high for my standards, the Radius HP-TWF21R will be an awesome purchase for anyone looking for a very enjoyable, laid back, and easy on the ears listening experience. 

 
There are a lot of dynamic headphones around on the market, with a very small percent being shared by orthodynamic’s and electrostatics. HiFiMan’s mostly known for their orthodynamic headphones, like the HE-500 & the HE-6. But, what if HiFiMan were to make a dynamic headphone, one that could be directly compared to more popular headphones like the K702 & the HD650? Would they share the same sound signature, or would a new dynamic king arise from the shadows? Well, that’s exactly what we are here today to take a look at. The HE-300, the first headphone by HiFiMan to incorporate a dynamic driver. So, what does HiFiMan’s $300 entry level headphone sound like?
 
Sound Impressions
See update below.
 
Power Consumption
Very little, it runs decently off the likes of the iPhone 4 and other iPods. With that being said, the HE-300’s do benefit greatly from an amplifier when it comes to power consumption. While they aren’t as inefficient as HiFiMan’s orthodynamics, I found that the everything seemed a bit more muddled with the iPhone 4 and bass wasn’t very good when it came to body and impact. If you can find yourself a cheap amplifier, like the FiiO E11 or SoundMagic A10, you’ll find that the HE-300’s will go a lot louder and sound a tad bit better. Then again, if you have something like the HiSound Audio Studio-V or the HiFiMan HM players, you shouldn’t have a problem. But, as with all open headphones, I recommend a desktop amp, since they aren’t very mobile (they’re open back headphones, they aren’t portable literally at all) and won’t necessarily find a use for a portable amp.
 
The Design & Durability
For a $300 headphone, the HE-300’s are built very well. The housings are made of an all metal construction and have a metallic glossy finish on the outside. Basically, they are almost identical to the other HE line, with a few different cosmetic changes and a much more lightweight design due to the dynamic driver on the inside. The leather headband is exactly the same as all of the other HE headphones, and feature the same padding on the inside, which, while being very comfortable, is not as soft as some of the other cans available on the market. Basically, if you have the HE-500, HE-5LE, HE-4, or the HE-6, you won’t find hardly any differences at all in design. If you need a more in-depth look at the design, look towards the pictures, they’ll provide a better look, after all, it’ll last longer. Lastly, I have only found one durability problem, a small one at that. The plastic ring around the outer end of the ear pads have started to peel slightly, which may become more of a issue in the long run.
 
Comfort & Feel
Not a huge amount to talk about here. As said before, the headband is very comfortable, and doesn’t hurt the top of your head or anything of the sort. The clamping force on the HE-300 wasn’t very strong either. They rest on the sides of my head very gently, and are very comfortable with the velour pads, albeit a bit itchy at times. Keep in mind though that I have a small head, and people with beefier sized noggins will have more of a clamping force. Now, HiFiMan recently announced that they will be selling their new leather ear pads with the HE-6 and the HE-500, although it is still unknown if they will be selling them with the HE-300, or as a side option. I’ve heard a lot of talk around the Head-Fi forums about requests for some leather pads, so here is hoping that HiFiMan answers that request.
 
Part 2 Sneak Peak & Final Thoughts
So hopefully next week I will be heading down to 32 Ohm Audio (ALO Audio) for some auditioning and comparisons testing the HE-300 vs. other top tiered cans in the same price range.The last time I visited and talked to Caleb, he was very enthusiastic about me trying some cans and amps, so I can’t wait to put the HE-300’s to the test. As for right now, I’m really enjoying the HE-300’s. They provide a warm, laid back, easy on the ears listening experience that is very musical but excels highly in the mids when listening to mellower music, and they don’t require an external amp to sound fantastic, unlike the HE-500 and the HE-6.
 
Update (12/3/11)
After listening to the HE-300 for well over the period of two months now, I have a few updates that I feel should be brought forth to the table about how these sound. First off, I apologize about my previous sound impressions. While I'm very well educated in judging high end IEM's (seeing as I have a vast majority of them), I wasn't at all experienced in reviewing headphones, as the HE-300 were my first pair of sub $300 headphones. I hand't listened to top tires like the HD650, the HD600, the K501 (better than the K702 IMO) and the Beyerdynamic DT900. After trying and auditioning all of those headphones, I have made some final conclusions about the HiFiMan HE-300 headphones. Please note that these updates reflect the first coming of the headphones, not the second version, which is supposed to be very similar in sound signature to something like the Sennhesier HD650.
 
So, where does this leave me? Well, let's do some quick comparisons. The HE-300 is literally like a step down from almost all the cans listed above. The low end is a lot more boomy and has more surge than the HD650, but lacks rumble, speed, texture, and tightness. The mids of the HE-300 are decently well delivered, but both the AKG K702 and the HD650 beat the HE-30 to the punch. The K702's mids are brighter, the HD650's more smooth, and the HE-300's more forward, but lack any sweetness (K702) or full body-ness (HD650) that's seen in those two cans. The highs are another story. Prior to burn in, they sounded quite shrill, and not the bright, detailed shrill, but the annoying sibilance. The high end rolled off a little bit after a day or two, but both the K702 and HD650 are better yet. The K702 with a lot more sparkle and extension, and the HD650 with more warmth and smoothness. 
 
Oh, and did I mention the soundstage? Close, but no cigar. The HE-300 has a smaller overall soundstage than the HD650 and the K702. I find the HD650 to go a little bit deeper and achieve an overall more massive deal, but the HE-300 does have something that the HD650 doesn't, which is instrumental separation. It's not world class, but it's better than the HD650, albeit the HD650 has a much bigger stage representation.

(Pictures can be found in the thread)
 
 
 
The Ortofon e-Q5 was a very uber popular headphone for a short period time, that is until bigger and better IEM’s took the market by storm, like the Westone 4 and the Earsonics SM3. While I may be a little late to the party when it comes to auditioning these little marvels, this will definitely be sticking in my book for a very, very ling time, as they are one of the most unique and beautifully tuned IEM’s I have ever in my short lifetime.
 
The Design
Unlike the Westone 4’s or the Earsonics SM3, which use an all plastic body, the Ortofon e-Q5’s have a very pristine aluminum housing that not only manages to look very modern and sleek, but it is also one of the most durable IEM’s on the market. The cylindrical housings on the e-Q5’s have an almost futuristic look to them and manage to prevent scratching and dings, even after a harsh fall to concrete, in which I was very surprised. Just don’t take these in the pool, and you should be just fine with them. Now, there is one of aspect of the e-Q5’s that fails to me impress me at all, and that’s the cable coupling. While the rubber coating has a much better strain relief over the e-Q7’s lower cable, the e-Q5’s are a lot more tangle prone and is quite susceptible to scratches and tears. To me it confuses me that Ortofon would combine the ultra durability of aluminum with the tenderness and fragile-ness of a slim rubber cable, when a kevlar reinforced or even a sheath coated one would have sufficed much more.
 
Comfort & Fit
The cylindrical design is unique, that’s for sure, and some would think that there may be problems when it comes to these aspects, and it’s actually quite the opposite. While the e-Q5’s are certainly not as comfortable as the likes of the Radius HP-TWF21R (the infamous half in ear, half out of ear IEM), they offer as good, and if not better, isolation than the Westone 4, Earsonics SM3, and Final Audio Design Heaven series. Ear fatigue is almost nonexistent as these nearly fade away in your ears just as high quality chocolate give you that melt in your mouth feel and taste.
 
Sound Impressions
The e-Q5 gives off a very spacious vibe and presents in it in a manner that excites me more than any other top tiered IEM I have tried. While not as wide as the e-Q7, the e-Q5 is more spacious, deep, and gives off better transparency all throughout. The highs are more extensive, sparkly, and forward, with the e-Q7 being more laid back, smooth, and warm sounding. When compare to the W4 and the ESM3, the e-Q5 just can’t compete, as those higher end IEM’s have better extension, are a bit brighter, and have much better micro detail retrieval when amped with a bright amp or source (to my ears). The mids of the e-Q5 mimic the e-Q7, are a tad less forward, a bit less sweet, but more full bodied. The e-Q7 was known for acoustics, and Ortofon has tweaked the driver ever so slightly to recess to the vocals slightly, but still keep fantastic clarity.
 
The low end is more prominent than the e-Q7, has more rumble, and is a tad bit deeper, especially when amped with a decent portable amp like the SoundMagic A10 when bass boost is turned on. Let’s say you were to have the e-Q5 and the Radius HP-TWF21R on hand. They would sound pretty different, and the HP-TWF21R, while definitely taking the prized possession in terms of low end sonic precision, would definitely have a rival in terms of bass body when the e-Q5 is properly driven and amped.
 
Final Thoughts
The Ortofon e-Q5 sells at an MSRP of $349, which is $30 less than it’s older brother. For $30 less you get more extended treble, less silky mids, and more bass body. In my opinion, that makes for a much better IEM. Here is a quick tip though, if your are in the market for the e-Q5’s, hit up Wicked Digital, as they are holding a sale were you can get the e-Q5’s for $249 (no promoting by me) on their website. The link for the e-Q5 will be at the bottom.

Review coming soon.